How does the narration and plot arrangement serve the theme in "Nobody Listens When I Talk" by Annette Sanford?

Sanford's short story is told in the first person with copious amounts of interior monologue. The monologue takes the form of the remembering self, the experiencing self, and also a self-reflective meta-fictional narrative.
The plot juxtaposes these varied forms of narration to underline the main theme of the story: the arduous process of achieving self-awareness and self-actualization. The protagonist, Marilyn, agonizes over how others perceive her and the expectations that besiege her on a daily basis. She longs for personal agency and is frustrated that her freedom is circumscribed by her parents. In other words, Marilyn is in that seemingly annoying stage between dependent childhood and self-sufficient adulthood.
Her frustrations, anxieties, and hopes are delineated through various forms of interior monologue. Sanford juxtaposes Marilyn's remembering self with her experiencing self. In the midst of this, she weaves in a self-reflective meta-fictional narrative that reveals the dissonant experiences of a teenager buffeted by parental expectations, personal fantasies, and peer pressure.
The story begins with Marilyn's experiencing self telling us about being sixteen and spending the summer in a swing. She tells us that she doesn't talk much because nobody bothers to listen to her. Marilyn feels isolated, misunderstood, and unloved.
Marilyn's parents tell her how lucky she is to be young and facing a life full of possibilities. However, Marilyn doesn't share her parents' positive outlook on life. Marilyn's remembering self tells us that her parents are hopelessly out of touch. She contends that her father "grew up in Utopia, where everyone between two and twenty dwelt in perpetual joy." Marilyn feels the same about her mother, a woman who "hovers" and who expects her to be an "apprentice woman in training for three meals a day served on time and shiny kitchen linoleum."
Marilyn's remembering self takes us back to the time she was six-year-old, "crying into a blue corduroy bedspread" because an uncle laughed at her elephant drawing. She remembers lying in a "big iron bed" in her grandfather's house and feeling "safe."
It's obvious that Marilyn no longer feels "safe." Adulthood is beckoning her into its mysterious arms, and she feels unsure, anxious, and even rebellious.
Even her friend contends that she needs "a lot of experience with different men" to get her out of her doldrums. No one seems to understand that Marilyn doesn't want a whole "lot of experience" with different men or any other experience. Instead, she wants one man to kiss her madly, buy her violets, and throw himself in front of an Amtrak for want of her "careless glance." Here, Marilyn betrays a somewhat romanticized view about love.
The author then eases us into Marilyn's meta-fictional self, where she takes on the persona of different characters in novels she has read. Sanford's skillful juxtaposition of varied narratives clearly portray the profusion of emotions our protagonist experiences. These narratives also highlight the main theme of the novel: the arduous process of achieving self-awareness and self-actualization. In short, the narratives clearly highlight the tumultuous experiences of the adolescent self.